Unless I am mistakenthis is the first time this bust has been publishedand the photographs should be compared with the photographs of the other busts of Chesterfield by Roubiliac collected recently on this blog.

I am very grateful to William Derham of Collections and Research at Dublin Castle for taking the trouble to take these photographs for me and to the Irish Aesthete for putting us in contact.

I heartily recommend his blog to anyone interested in the History and Architecture of Ireland

I currently use this parallel blog as a sort of aide memoire and filing system for collating information before the final posting. It is seems to have developed an independent life of its own. If anyone is interested I frequently return to update the postings.

eg. There is a huge amount of information on the busts of Isaac Newton my reaches are not yet completed but I have posted many photographs.

From Some Designs for Buildings both
Publick and Private be James Leoni, architect.

From: The architecture of Leon Battista Alberti, in ten books : Of painting in three books and Of statuary, one book / translated into Italian by Cosimo Bartoli, and now first into English and divided into three volumes, by James Leoni.

A statue of George I in Imperial Garb? by Laurent Delvaux was set up in the New Court of Rolls in about 1724.

A statue of George I
in Roman dress, by John Ricketts the Elder, (1691 - 1734), of Gloucester,
was put up in Westgate Street in Gloucester in 1720 and was moved to Eastgate Street near the
Barley Market house in 1766; its later history has not been traced.

Obv:Bust of George I GEORGIUS. I. D. G. MAG. BR. FR. ET. HIB. REX.Rev:Tomb, on one side of which is Justice, holding her sword in her right hand and resting her left arm on a book. At right is Peace holding an oak cluster. NAT. 18. MAI. 1660. CORONAT. 21. OCT. 1714. M. 12 IUN. 1727Signed: I.D.Ref:M.I. ii, 475/94; Eimer 77/508; Eisler I, 264/33; Thompson 34/32

This ivory coloured wax head
and shoulder profile portrait depicts George I in profile, facing right. He is
shown wearing a full-bottomed wig, armour and a shaped robe. It is set on an
oval shaped black-backed ground and with an ebonised moulded oval wooden frame
with glazed front. Vertue described the skill of the ‘Ingenious Isaac Gosset’
as ‘so universally approved on for likeness’ that he dedicated a section in his
notebooks to wax carving, which he considered a growing industry. Gosset was
from a Huguenot family which had fled to Jersey after the Revocation of the
Edict of Nantes. The family later moved to London and Isaac learned wax
modelling and frame carving from his uncle Matthew. His wax production was
prolific and covered both classical and contemporary figures. Gosset’s renown
lay in the fact that, unlike most contemporary wax modellers, he worked from
life, and at speed, apparently producing a portrait in under an hour. Gosset
also created a secret recipe for tinting his wax to appear like old ivory. His
waxes were highly fashionable and were sold at four guineas a piece for an
original portrait or one guinea for a copy. Vertue noted that Gosset ‘had the honour
of the King sitting to him’ as well as ‘great numbers of persons of Quality and
persons of distinction – Learned and others’. Queen Caroline is known to have
commissioned various works from Gosset, and may even have granted him a
pension. The Picture Closet at Kensington displayed numerous waxes, framed both
singly and in groups of up to 16 figures. Some Vertue catalogued as historic
and contemporary princes but most remained unidentified. Text adapted from The
First Georgians; Art and Monarchy 1714 - 1760, London, 2014.

Provenance

Possibly from the collection of
George III.

Text and image from - Royal Collection.

Here Attributed to Isaac Gosset.

Wax

Victoria and Albert Museum.

________________________

A Medallion of George I

Made to Celebrate his entry into London

The reverse showing London presenting the key of the city in front of the Royal Exchange.

The figures of George I and George II were placed in the line in 1750 and 1768 respectively. The inclusion of George I, somewhat belatedly, had already been approved in 1730 but the order was not completed. Suitable armour to represent George I was finally identified in 1750 at Windsor Castle. The most curious feature to emerge during this period however is the casting of a metal head by the sculptor, John Cheere. This was apparently the only occasion that metal was considered as a sculptured element in the display. However, although the head was not used he was still paid £8 8s 0d for his efforts in 1751.

A statue of George I in Imperial Garb? by Laurent Delvaux was set up in the New Court of Rolls in about 1724.

A statue of George I
in Roman dress, by John Ricketts the Elder, (1691 - 1734), of Gloucester,
was put up in Westgate Street in Gloucester in 1720 and was moved to Eastgate Street near the
Barley Market house in 1766; its later history has not been traced.

Obv:Bust of George I GEORGIUS. I. D. G. MAG. BR. FR. ET. HIB. REX.Rev:Tomb, on one side of which is Justice, holding her sword in her right hand and resting her left arm on a book. At right is Peace holding an oak cluster. NAT. 18. MAI. 1660. CORONAT. 21. OCT. 1714. M. 12 IUN. 1727Signed: I.D.Ref:M.I. ii, 475/94; Eimer 77/508; Eisler I, 264/33; Thompson 34/32

This ivory coloured wax head
and shoulder profile portrait depicts George I in profile, facing right. He is
shown wearing a full-bottomed wig, armour and a shaped robe. It is set on an
oval shaped black-backed ground and with an ebonised moulded oval wooden frame
with glazed front. Vertue described the skill of the ‘Ingenious Isaac Gosset’
as ‘so universally approved on for likeness’ that he dedicated a section in his
notebooks to wax carving, which he considered a growing industry. Gosset was
from a Huguenot family which had fled to Jersey after the Revocation of the
Edict of Nantes. The family later moved to London and Isaac learned wax
modelling and frame carving from his uncle Matthew. His wax production was
prolific and covered both classical and contemporary figures. Gosset’s renown
lay in the fact that, unlike most contemporary wax modellers, he worked from
life, and at speed, apparently producing a portrait in under an hour. Gosset
also created a secret recipe for tinting his wax to appear like old ivory. His
waxes were highly fashionable and were sold at four guineas a piece for an
original portrait or one guinea for a copy. Vertue noted that Gosset ‘had the honour
of the King sitting to him’ as well as ‘great numbers of persons of Quality and
persons of distinction – Learned and others’. Queen Caroline is known to have
commissioned various works from Gosset, and may even have granted him a
pension. The Picture Closet at Kensington displayed numerous waxes, framed both
singly and in groups of up to 16 figures. Some Vertue catalogued as historic
and contemporary princes but most remained unidentified. Text adapted from The
First Georgians; Art and Monarchy 1714 - 1760, London, 2014.

Provenance

Possibly from the collection of
George III.

Text and image from - Royal Collection.

Here Attributed to Isaac Gosset.

Wax

Victoria and Albert Museum.

________________________

A Medallion of George I

Made to Celebrate his entry into London

The reverse showing London presenting the key of the city in front of the Royal Exchange.

The figures of George I and George II were placed in the line in 1750 and 1768 respectively. The inclusion of George I, somewhat belatedly, had already been approved in 1730 but the order was not completed. Suitable armour to represent George I was finally identified in 1750 at Windsor Castle. The most curious feature to emerge during this period however is the casting of a metal head by the sculptor, John Cheere. This was apparently the only occasion that metal was considered as a sculptured element in the display. However, although the head was not used he was still paid £8 8s 0d for his efforts in 1751.

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About Me

"The historian should be fearless and incorruptible; a man of independence, loving frankness and truth; one who, as the poets says, calls a fig a fig and a spade a spade. He should yield to neither hatred nor affection, not should be unsparing and unpitying. He should be neither shy nor deprecating, but an impartial judge, giving each side all it deserves but no more. He should know in his writing no country and no city; he should bow to no authority and acknowledge no king. He should never consider what this or that man will think, but should state the facts as they really occurred. Lucian of Samosata